DOCSLIB.ORG

Bill Tole's Many Facets

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bill Tole's Many Facets VOLUME 95 BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 2004 parents were musicians and Tole says Tommy Dorsey BILL TOLE’S MANY FACETS music on radio and records was part of his growing up. He was hired as a member of the Dorsey “ghost band” Bill Tole is a trombone player who has played Tommy in 1959 after graduating from Duquesne Univer-sity Dorsey in the mov­ with a degree in mu­ ies, who has his own sic. There was a stint Big Band and who with the Air Force also leads the current Orchestra, then work version of the Jimmy as a studio musician Dorsey Orchestra. in New York and fi­ He was, in fact, a nally in Los Angeles, member of the where he now lives. Tommy Dorsey Or­ Dissolve to 2004, and chestra, and when we find Bill Tole as Martin Scorsese was leader of the JIMMY casting his 1977 film, Dorsey Orchestra, “New York, New through a set of un­ York” starring Rob­ usual circumstances. ert De Niro and Lisa Former owner of the Minnelli, he was Jimmy Dorsey name, chosen to portray the Jim Miller, suffered legendary band­ an accident and the leader. singer with the band, Nancy Knorr, happens to be Bill Tole’s sister. She asked him to sub for Miller until he In the opening moments of the movie, De Niro is was able to resume leadership of the band, but his wandering the streets of Manhattan on V-E. Day and injuries led to permanent retirement. Thus, Bill Tole winds up in a ballroom where he meets Minnelli. On has been and is, at various times, a leader of three the bandstand, complete with trombone and the Dorsey- different bands: his own, the Jimmy Dorsey Orchestra style glasses is Tole leading the orchestra in what turns and in the movies, for a few minutes the Tommy Dorsey out to be a medley of Tommy Dorsey’s hits, OPUS Orchestra. ONE, MARIE and the Dorsey theme, GETTING SEN­ TIMENTAL OVER YOU. The guys on the bandstand In his travels across the country and during annual trips with him were actually members of the Bill Tole to Australia and New Zealand, Tole sees evidence of a Orchestra. The word is some of them had to shave off new audience for Big Band music. “The interesting their beards and get ’40s haircuts in order to fit into the thing is that the younger people are getting into it period portrayed in the film. through dancing. Sure they listen to Big Bad Voodoo Daddy and the Squirrel Nut Zippers, but all that music Tole heard about auditions for the Tommy Dorsey role is based on the era of Louis Prima, Louis Jordan and from former bandleader Orrin Tucker, famed for his Benny Goodman. The Dorseys are in there with them.” 1939 hit, OH JOHNNY. Tucker told Tole to wear a pair of round glasses when he went in to audition. He played SOMETHING'S HAPPENING OUT THERE a few notes on his trombone for Scorsese and talked a bit. Scorsese liked the look and the voice and a new We don’t know what permanent effect it will have, but Tommy Dorsey was bom, at least for the time it took for fairly current singers of all persuasions are getting into his appearance on the screen. the Great American Music act. Years ago Linda Ronstadt issued a couple of albums of standards, and Bill Tole was raised on Tommy Dorsey music while Toni Tennille has been in the standard bag for some growing up in Pittsburgh, Pennsylvania. Both his years, but a spate of new performers are now doing it. (continued on page 12} 10.
Load more

Recommended publications
  • Record Series 1121-105, W. W. Law Music Collection Album Artwork
    Record Series 1121‐105, W. W. Law Music Collection Album Artwork Inventory Alphabetically by Title Title Genre Box # / Folder #Associated with Box # / Folder # A Lincoln Portrait Music for the stage 1121‐105‐0043/FF04 1121‐105‐0029/FF2 A Nation Is Born; A Historic Vote For A Jewish State Narrative recordings‐‐ Addresses (speeches) 1121‐105‐0035/FF01 1121‐105‐0031/FF1 A Porter's Love Song/Since I've Been With You Jazz 1121‐105‐0037/FF08 1121‐105‐0005/FF4 American Spirituals Sacred music‐‐ Spirituals (songs) 1121‐105‐0035/FF03 1121‐105‐0022/FF12 Baby Daddy/Joogie Boogie Jazz 1121‐105‐0036/FF07 1121‐105‐0002/FF8 Ballad For Americans Classical music‐‐ Cantatas 1121‐105‐0036/FF01 1121‐105‐0007/FF7 Blues by Basie Blues (music) 1121‐105‐0037/FF03 1121‐105‐0033/FF9 Brahms Concerto No. 2, in B Flat Major, Op. 83 Classical music‐‐ Concertos 1121‐105‐0039/FF05 1121‐105‐0019/FF2 Brahms Symphony No. 3 In F, Op. 90 Classical Music‐‐Symphonies 1121‐105‐0040/FF04 1121‐105‐0019/FF1 Classical Music‐‐Symphonies 1121‐105‐0041/FF06 1121‐105‐0018/FF1 Cantorial Jewels Saturday, April 02, 2016 Page 1 of 6 Title Genre Box # / Folder #Associated with Box # / Folder # Sacred music 1121‐105‐0043/FF01 1121‐105‐0024/FF1 Concerto in C; (In The Style of Vivaldi) Classical music‐‐ Concertos 1121‐105‐0040/FF03 1121‐105‐0021/FF3 Concerto in D Major for Violin and Orcestra, Op. 77 Classical music‐‐ Concertos 1121‐105‐0042/FF02 1121‐105‐0009/FF1 Concerto in D Major for Violin and Orchestra, Op.
    [Show full text]
  • Jimmy Dorsey Orchestratm Jimmy’S Musical Training Began When He Was a Young Boy in Pennsylvania
    America’s Music On Parade Enjoy an evening of America’s Hits that inspired many of the greatest recordings ever made. A memory of these songs touched our deepest feelings in a way no other songs have or ever will. American’s Hits On Parade are legendary songs from the most thrilling era of music that captured our hearts during an amazing ten years of music and history. The America’s Hits On Parade was everywhere! Radio’s broadcasted from ballrooms like the Aragon, Palomar, Palladium and the “Make Believe” Ballroom. Juke Boxes whirled at home while a world away GI’s warmly welcomed the sounds of America’s Hits. We danced at night clubs, USO’s, ballrooms and truly had the greatest time of our lives. Sit back and enjoy America’s Hits On Parade with an evening of the songs we cherished the most and will never forget listening to - I’ll Never Smile Again - In The Mood - I’m Getting Sentimental Over You - Tangerine - There Are Such Things - Dream - Boogie Woogie - So Rare - Stardust………. and many more. Jimmy Dorsey OrchestraTM Jimmy’s musical training began when he was a young boy in Pennsylvania. Along with his brother Tommy, the talented young musicians joined Paul Whiteman’s Orchestra and at the same time they were recording many records under the billing “The Dorsey Brothers Orchestra”. Their band continued through the early thirties until a dispute over a tempo of a song separated the brothers for decades. Jimmy found himself an instant leader of the band that became the birth of the Jimmy Dorsey Orchestra.
    [Show full text]
  • Tommy Dorsey 1 9
    Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • Download Booklet
    120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s.
    [Show full text]
  • Chapter Outline
    CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity.
    [Show full text]
  • Centennial Ball State University of New York College at Cortland
    SUNY College Cortland Digital Commons @ Cortland Centennial (100th) Anniversary Documents Centennial (100th) Anniversary 3-7-1968 Centennial Ball State University of New York College at Cortland Follow this and additional works at: https://digitalcommons.cortland.edu/centennial_documents Recommended Citation State University of New York College at Cortland, "Centennial Ball" (1968). Centennial (100th) Anniversary Documents. 14. https://digitalcommons.cortland.edu/centennial_documents/14 This Article is brought to you for free and open access by the Centennial (100th) Anniversary at Digital Commons @ Cortland. It has been accepted for inclusion in Centennial (100th) Anniversary Documents by an authorized administrator of Digital Commons @ Cortland. For more information, please contact [email protected]. PUBLIC RELATIONS OFFICE FOR IMMEDIATE RELEASE STATE UNIVERSITY COLLEGE Thursday CORTLAND, NEW YORK 13045 March 7, 1968 Norbert W. Haley, Director Tel. 753-2518 Area Code 607 File: N/203/67 CORTLAND--Lee Castle will be leading the Jimmy Dorsey Orchestra at the Centennial Ball of State University College at Cortland on Saturday. March 9, and the public is invited. Dr. Ross L. Allen, chairman of the Centennial Committee, said that the ball is scheduled from 9 p.m. to 1 a.m. at the New York State Armory on h~eeler Avenue in cortland. Students and faculty will be admitted with their College identification cards. Publi~ tickets will be available at the door at five dollars per couple. Dr. Allen said that dress for the ball has been set at black tie optional. Lee Castle has been termed one of the best trumpet players in the country. In the words of two of the world's finest song writers, Sammy Cahn and Jimmy Van Heusen: "As 'the third member" of the Dorsey family, who else but Lee Castle could follow the Dorsey Brothers.
    [Show full text]
  • Glenn Miller's
    n Dec. 15, 1944, it had been raining in Eng- land for three days. The regular military shuttle Oflights to France were canceled. Maj. Glenn Miller waited impatiently, eager Glenn Miller’s to get to Paris to make arrangements for a Christmas performance by his Army Air Forces band. Air Force Odyssey When the opportunity arose to hitch a ride across the English Channel on a small single-engine airplane, he leapt at it. The aircraft was a UC-64 Noorduyn Norseman, the military version of a Canadian bush plane. Miller did not fully understand the risk he was tak- ing, nor did he know that the pilot was exceeding his clearance, which was for local flying only. The airplane took off into the fog from a field north of London at 1:55 p.m. and disappeared into history. For a while, there was hope that it might have landed somewhere, but it did not turn up. Eighth Air Force officially declared the aircraft missing and made a public announcement on Christmas Eve. Glenn Miller was at the peak of his fame. He had been the most popular bandleader in America before he joined the Army in 1942. In 1940 alone, his records sold almost three million copies and he had 31 hits in the Top 10 that year. His AAF band, formed in 1943, was an all-star team. Miller had his pick of top musicians who had been drafted into the armed forces. He was able to pull in several former members of his own band and others who had played with Benny Goodman, Tommy Dorsey, and Artie Shaw.
    [Show full text]
  • Big Band Jump
    BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 our impression of Jo Stafford is that’s she’s a business­ JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu­ been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca­ question concerned Jo’s life be­ reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (the Andrews Sisters, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern California on radio and music? in movie musicals until 1938 I had two older sis­ when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra­ Pied Pipers. dio in Long Beach, California and finally came up to Holly­ Jo is a native of California, where her Tennessee bom wood, doing radio in and around Los Angeles. When I parents moved just before she was bom in 1917.
    [Show full text]
  • Shellac Album Artwork Alphabetical by Genre
    Record Series 1121‐105, W. W. Law Music Collection Album Artwork ‐ Inventory by Music Genre Genre Title Box # / Folder # Associated with Box # / Folder # Blues (music) Blues by Basie 1121‐105‐0037/FF03 1121‐105‐0033/FF9 Classical music‐‐ Preludes (Music) Preludes, Op. 28 1121‐105‐0042/FF01 1121‐105‐0018/FF2 Classical music J. S. Bach Magnificat 1121‐105‐0035/FF10 1121‐105‐0007/FF2 Music to Remember; From The Life of Chopin 1121‐105‐0035/FF11 1121‐105‐0007/FF6 Song Recital ‐ Volume 21121‐105‐0035/FF09 1121‐105‐0007/FF1 Classical music ‐‐ Overtures Tragic Overture, Op. 81 1121‐105‐0039/FF01 1121‐105‐0012/FF1 Classical music ‐‐ Song cycles Songs of A Wayfarer 1121‐105‐0040/FF06 1121‐105‐0016/FF4 Classical music ‐‐ Trios Trio No. 1 in B Flat Major, Op. 99 1121‐105‐0040/FF01 1121‐105‐0021/FF1 Classical music‐‐ Cantatas Ballad For Americans 1121‐105‐0036/FF01 1121‐105‐0007/FF7 J.S. Bach Cantata No. 41121‐105‐0036/FF02 1121‐105‐0007/FF9 Classical music‐‐ Concertos Brahms Concerto No. 2, in B Flat Major, Op. 83 1121‐105‐0039/FF05 1121‐105‐0019/FF2 Saturday, April 02, 2016 Page 1 of 5 Genre Title Box # / Folder # Associated with Box # / Folder # Concerto in C; (In The Style of Vivaldi) 1121‐105‐0040/FF03 1121‐105‐0021/FF3 Concerto in D Major for Violin and Orcestra, Op. 77 1121‐105‐0042/FF02 1121‐105‐0009/FF1 Concerto in D Major for Violin and Orchestra, Op. 61 For Violin and Orchestra 1121‐105‐0041/FF05 1121‐105‐0010/FF1 Concerto in D Minor for Violin and Orchestra, Op.
    [Show full text]
  • Oral History Transcript T-0033, Interview with Druie Bess
    ORAL HISTORY T-0033 INTERVIEW WITH DRUIE BESS INTERVIEWED BY PETER ETZKORN JAZZMEN PROJECT NOVERMBER 5, 1971 CORTINOVIS: Today is November 5 and this is Irene Cortinovis of the Oral History Program of the University of Missouri, Archives and Manuscripts Division; and today we have Mr. Druie Bess, a trombone player, in our jazz musician series. And along with the interview with me are Dr. Peter Etzkorn of the Sociology Department and Len Licata, a student assistant. So, suppose you just start, Druie, and just tell us where you were born and who you played with. Well, let's start with where you were born and how you learned to play music. BESS; Well, I was born in Montgomery City, Missouri, July 24, 1901. Parents: Frank and Fannie Bess. ETZKORN: Did you grow up in Missouri, then? Did you spend your early years in that town? BESS: Early years in that town and my dad and another friend of his, named Ed Duffy, learned me how to play trombone, started me on the trombone. ETZKORN: Did they have a band in that town? BESS: Had a home-town band. ETZKORN: Your father played in the band, too? BESS: Father and Ed Duffy. He played the bass clef, my father played the treble clef. And Ed Duffy learned me how to play the bass clef, said that'd be better. CORTINOVIS: Montgomery City still isn't a very big town. Were there many blacks in Montgomery City? BESS: Well, quite a few, quite a few. CORTINOVIS: So, then, what'd your dad do? BESS: My dad worked at the electric plant.
    [Show full text]
  • “When Swing Was King”
    Did You Know? “When Swing Was King” Female singers in the big band Summer Newsletter and jazz era were often called canaries, a nickname reminiscent of those small, lovely songbirds. Well, here are a few canaries who started with big bands before their careers really took off. A Big Band Quiz 1) Which record was Bing Crosby’s Dale Evans first million seller? (Anson Weeks Orchestra) 2) Which big band was billed as playing “the sweetest music this side of heaven.” Dorothy Lamour 3) What NBC radio program ran from (Herbie Kaye Orchestra) Sed porttitor imperdiet odio. Sed ut leo.1936 -1959 featuring bands and singers[Date] doing the popular songs of the week? Rosemary Clooney 4) This singer, composer, and lyricist was (Tony Pastor Orchestra) also a co-founder of Capitol Records. Who was he? Harriet Hilliard Nelson 5) Vito Rocco Farinola is the ( Ozzie Nelson Orchestra) real name of what singer? 6) What big band leader recorded the Doris Day theme song for Dick Clark’s (Bob Crosby and “American Bandstand”? Les Brown Orchestras) 7) What were the top 3 songs in the summer of 1945? Dorothy Dandridge 8) When the Hollywood Palladium (Jimmie Lunceford Orchestra) opened in 1940, the nation’s top band performed. What was it? Kay Starr 9) The 1947 Rock-Ola, the 1952 Seeburg (Glenn Miller, Charlie Barnet, M100C, and the 1946 Wurlitzer 1015 and Joe Venuti Orchestras) are not cars. So, what are they? 10) What great singer/actress started as a Dinah Shore chorus girl at New York’s Cotton Club? (Xavier Cugat Orchestra) The Tops On Campus Starting in 1938, Billboard began a “College Music Poll,” asking students across America who were A Note from Denny & Claire their favorite big Last July I celebrated my 65th birthday by bands and vocalists.
    [Show full text]